Jean Grolier, viscount d’Aguisy, treasurer of France in 1545, was a great collector of fine books, most of which were bound for himself, and bear upon them his legend, Portio mea domine sit in terra viventium, and also his name, Io Grolierii et Amicorum (Plate, fig. 3). Tommaso Maioli, an Italian collector of about the same time, used the same form of legend. Books bound for him are curiously marked with atoms of gold remaining in the irregularities of the leather.
Demetrio Canevari, physician to Pope Urban VIII., had his books bound in dark green or deep red morocco, and upon them is a fine cameo stamp with a design of Apollo driving a chariot with one white horse and one black horse towards a mountain on which is a silver Pegasus. The stamp was coloured, but in most cases the colour has now worn off. Round the stamp is the legend ΟΡΘΩΣ ΚΑΙ ΜΗ ΛΟΞΙΩΣ.
The Italian bindings which were made for popes and cardinals are always of much interest and often of high merit, but as a rule later Italian bindings are disappointing.
Geoffrey Tory, printer and engraver to Francis I. of France, designed some fine bindings, some for himself and quite possibly some for Jean Grolier.
For Henry II. of France much highly decorative work in binding was done, richly gilded and coloured. These bindings have upon them the king’s initials, the initials of his queen, Catherine de’ Medici, and the emblems of crescents and bows. Henry’s device was a crescent with the legend, Donec impleat totum orbem. Bindings of similar style were made for Diane de Poitiers, duchesse de Valentinois, with her initials and the same devices of crescents and bows. They are always fine work.
German bindings are mostly in pigskin, finely stamped in blind. Several are, however, in calf. Gilding, when it exists, is generally bad.
In England during the 17th century much fine work was done in binding, most of it in morocco, but Henry, prince of Wales, always had his books bound in calf. The Jacobean style is heraldic, with semis of small stamps and heavy corners, but James I. has left some very fine bindings in another style (Plate, fig. 4), very possibly done for him by John Gibson, who bound the royal books while James was king of Scotland only. During the reign of Charles I. Nicholas Ferrar founded his curious establishment at Little Gidding, and there his niece Mary Collet and her sisters set up a bindery. They made large scrap-books, harmonies of the Gospels and other parts of the Bible, with illustrations, and bound them magnificently in velvet stamped in gold and silver. They were taught by a binder who worked for John and Thomas Buck, printers to the university of Cambridge, and the Little Gidding stamps are often identical with Buck’s.
Samuel Mearne (d. 1683) was royal binder to Charles II., and invented the cottage style of decoration, a style which has lasted till the present day; the Bible on which Edward VII. took the coronation oath was ornamented in that way. An inner rectangle is run parallel to the edges of the book, and the upper and lower lines are broken outwards into the outline of a gable roof. Mearne’s work as a binder (Plate, fig. 5) is of the highest merit. Many of his books have their fore-edge painted in such a way that the work is invisible when the book is shut, and only shows when the edges are fanned out.
In France 16th- and 17th-century binding is distinguished by the work of such masters as Nicholas Eve, who bound the beautiful Livre des Statuts et Ordonnances de l’ordre du Benvist Sainct Esprit for Henry III. (Plate, fig. 6); Clovis Eve, who is credited with the invention of the style known as “fanfare,” a delicate tracery over the boards of a book, filled out with spirals of leafy stems; and Le Gascon, who invented the dotted work which has been used more or less ever since. Le Gascon caused his small gilding tools—curves and arabesques—to be scored across, so that when impressions were made from them a dotted line showed instead of a right line. Florimond Badier worked in a style very similar to that of Le Gascon and sometimes signed his work, which Le Gascon never did. Le Gascon had many imitators, the best and closest being Poncyn and Magnus, Dutch binders who worked at Amsterdam in the 17th century, and his style has been continuously followed to the present day.